A few weeks ago, the performance rights organization BMI released their annual list of the top ten sports songs.  Of course, this list can be a little misleading.  In the simplest of terms, the BMI rankings are only pulling from a selection of songs (albeit a significant selection) uniquely registered to BMI, quelling any discussion that this is the definitive list of top sports songs.  While it’s a nice way for BMI to showcase their artists and songs, by no means does it paint a complete picture.  Adding to the confusion is that PRO’s such as BMI, ASCAP and SESAC are all foreign to the average sports marketer, let alone the average fan.

A further observation that continues to stand out is the extraordinary lack of turnover or new music appearing on the list.  It’s become so boringly predictable that they’d be better off taking a cue from the U.S. Census and releasing every ten years, rather than issuing the yearly rankings.

It does however, lead to a more significant discussion.  While songs such as Queen’s “We Will Rock You” will continue to dominate these charts, frequency and impact don’t necessarily go hand in hand.  One could even argue that the songs appearing on this list represent the least innovative and most predictable approach to in-game music of any.

One major aspect of sports business that I’ve always admired is a team’s remarkable ability to create new income streams and uniquely brand their organization.  Yet music is somehow forgotten about in this respect.  My guess is that most teams aren’t even aware of the small fortunes bands like EMF (“You’re Unbelievable”) are making from them and their annual licensing fees.  In fact, I once read that in-stadium airplay alone has financed the college funds of the band members’ children.

While there is no magic formula with in-venue music, the teams that get it right are the ones that put the most thought and creativity into the platform.  While you’ll never see English rockers The Fratellis on the top ten lists, one can’t help but envy the way the Chicago Blackhawks have branded “Chelsea Dagger” as their official goal song.  In effect, the team has established a new and unique tradition that will in all likelihood last for many seasons to come.  Nearly every ‘Hawks fan I know has the song on their iPod, several of whom have also made it their ringtone.

Staying in Chicago, an even stronger example is the Cubs use of “Go Cubs Go”.  The song rested in total obscurity for decades before the Cubs marketing department dusted off the 1984 release and turned it into the team’s official victory anthem in 2007.

What’s interesting is the team’s high profile usage of the track is entirely responsible for its resurgence.  Except the Cubs are cut out of the revenue streams pouring in as a result.  Furthermore, the Cubs are even restricted with how and where they can use it, especially when it comes to showcasing the song online or syncing it to video.  Bottom line, a lot of people have gotten rich off of the song, just not the organization responsible for giving it such a long-lasting shelf life.

For this reason, I’m surprised teams haven’t taken a more aggressive approach to acquiring more music rights, as well as participating in the revenues being made from their association and involvement.

I understand most sports organizations are risk averse, and that music presents a few challenges.  After all, in an arena of 20,000 fans, music may be the most polarizing topic of all.  On one hand, you want to appear edgy and fresh, on the other you also want to keep your fans happy, particularly those sitting in the priciest of seats.

In the end, it’s important for teams to realize that the risks involved in experimenting with their music approach are insignificant and the rewards can be great.  If used properly, Twitter and Facebook are excellent sources for fan feedback and suggestions on music.  By engaging fans on the front-end, the possibility of any backlash or negative reactions will vastly diminish.  In a majority of cases, including the Oklahoma State fiasco, negative feedback comes from scenarios when a song/artist wasn’t authentic, positioned well, or rolled out properly.

While the BMI list may not be absolute, it’s encouraging to see them take notice of the sports music category in general.  The more attention and legitimacy it receives, more and more opportunities for teams (and artists) will arise as a result.  And in that respect, I’m excited with what the future holds.